‘The Drowsy Chaperone’ // Switch Up Productions
‘The Drowsy Chaperone’ was invigorating.
Switch Up Productions have claimed their first musical offering as “A Very Funny Musical”. Did they deliver on this bold statement? You should see the show to be the judge for yourself. With some very fun songs, strong comedic performances from the cast, a fabulous set and humorous directing choices they delivered in spades (despite the constant rumble of classic cars in a passing parade outside on one night). The professional level cast didn’t bat an eyelid to these distractions and took the audience on a fun, laughter filled evening that swept us away from our ordinary for 2 hours and made everyone feel good.
The Tony award winning musical opened on Broadway May 2006 and received mixed reviews. It began as a comedic spoof of old musicals for the stag part of Bob Martin and Janet Van Der Graaf with more risqué jokes which were tamed down for the stage.
Despite the mixed reviews, it was nominated for 13 Tony Awards and won 5. The 2010 Australian production starring Geoffrey Rush as the Man in the chair was very well received and it played for an extended season.
The story is a show within a show, where Man in the Chair (played perfectly in all his pathetic-ness by Adrian Carr) breaks the fourth wall and introduces via vinyl us to a fictional 1928 musical comedy “The Drowsy Chaperone”. His favorite musical (even though he has never seen it) and provides us an entertaining running commentary through the show.
The characters are introduced to us very quickly in the first number (Fancy Dress).
We are informed that it is the wedding day for oil tycoon Robert Martin (the dapper Nicholas Joy) and Broadway star Janet Van De Graff (vivacious Vivien Wood) who is giving up her successful career for married life. Broadway producer Feldzieg (earnest Tristan James) is hoping to persuade Janet to give up the marriage to continue to star in his Feldzieg’s Follies; purely as a selfish financial motive. We also meet the flighty flapper Kitty (bubbly Tamara Long), who is; despite appearing to not be too bright is strategically planning to take Janet’s place in his show. We also meet Janet’s attendants the absent minded Mrs Tottendale ( elegant Gillian Simpson), Underling (stage stalwart Rod Jones), Robert’s best man George (the eager James Bird) , a self-proclaimed famed Latin lover; Adolpho (determined Justin Piper), Trix – an aviatrix (feisty Elyse Rae), two pastry chefs who are in fact gangsters in disguise (hilarious Douglas Berry & Brendan Dieckman) and of course the titular role of Janet’s alcoholic chaperone in all her glittering glory (bombastic Samantha O’Hare).
Our story follows the expected normal musical comedy and crazy twists and turns and more. Robert is having cold feet and taps away his anxiety (Cold Feets), however his best man George; whilst joining him in the dance, feels that tap dancing could be hazardous and suggest he roller skate while blindfolded (to avoid seeing the bride before the ceremony). Obviously whilst longing for married bliss and a life not on stage (Show Off) , Janet also has the usual pre wedding doubt about her intended and after asking her chaperone for help (As we Stumble Along).
Feldzig finds out that the two pastry chefs are actually gangsters sent to ensure that he retains Janet in his show, and he engages the assistance of Adolpho to seduce Janet and spoil her relationship with Robert. Adolpho sneaks into Janet’s rooms and in a moment of mistaken identity, seduces Janet’s Chaperone instead (I am Aldolpho).
Janet meets Robert whilst he is rollerskating blindfolded, and to disguise herself she poses as a French girl, Mimi and sets a test for him. Naturally, he is compelled to kiss Mimi because she reminds him greatly of his own intended (Accident Waiting to Happen). Janet flees in tears.
It all culminates at the end of Act 1 with the wedding being cancelled by Janet because she can’t trust her intended as he has kissed another woman (despite it being herself)
It is the end of Record 1 and seems a good time for interval even though The man in the Chair hates intervals. He graciously allows us to take a break.
On our return, Man in the Chair puts on the next record for the audience to continue listening to the Entr’acte while he goes to the bathroom (one would question why he didn’t use the interval time for this, but so far nothing in this show has been overly logical) However, the record he puts on is the wrong show. (Message from a Nightingale) Whilst in today’s terms it might seem offensive to have cast pretend to be very OTT Asian characters, with some dubious text and accents, but remember that this was based upon the 1920’s vaudeville recipe and take it into context. The humour played in this scene contained some of the best comedic timing of the show and the choreography was the standout feature. Upon the Man’s return he is very apologetic about the mistake, apparently his cleaning lady often mixes up his vinyls. We are soon back on track resuming the show into a musical dream sequence (Bride’s Lament) where Janet decides to return to the stage.
However, Mrs Tottendale and Underling believe that the wedding will continue because “Love is Always Lovely “. This was a beautiful tender moment with some outstanding vocals from Simpson and where she reveals her love for Underling.
The action races towards the finish line when the Chaperone reveals that there will be a wedding after all as she and Adolpho will be getting married (much to his dismay) and Mrs Tottendale announces that she and Underling will also be getting married.
As is expected at this stage of the show, Robert and Janet reconcile after she reveals that she was masquerading as Mimi and Kitty, who has been attempting to convince Felzeig that she is a suitable replacement for Janet reveals her mind reading talent. Amazingly she reads his mind to find he is asking her to marry him.
George is now the best man for four weddings and has failed at the most important task, finding a minister. Fortunately, (and with some fabulous lighting and clever construction) Trix lands her plane in the living room, and it is agreed that as captain on board a ship can perform marriages, they should engage her to fly them all to Rio and marry them along the journey (I Do, I Do in the Sky). The big finale number is in full flight until they are interrupted on the final chord due to a power outage in the unit. This throws our Man in the Chair further into his blues until by some miracle after the power is restored by the building superintendent, the characters come to real life and acknowledge our Man in the Chair, and everything ends on a happy note for everyone.
The roles were well cast and direction from Adrian Carr was clear and apparent that the creative team worked with the abilities of each of them. Carr’s set design was clever within the space at Fire station 101. A series of flats providing the backdrop to the apartment in which it all happens. Each flat had a distinct feature and made various points of interest. Entries and exits were not always through the front or side door as very clever use was made of the oversize refrigerator and even more sensationally the fold up bed for the Chaperone’s entrances. Transitions were seamless and the show flowed effortlessly with clever choreography and timing.
Costuming by Behrendorff was colorful and effective. It was bright and loyal to the era being portrayed and relevant for each couple. In fact, the Drowsy Chaperone herself had one of the most fabulous sequined outfit to ever grace the stage, I was in complete awe of it. There were sequins and sparkles that glittered and dazzled at every step of the way.
The lighting and sound were well balanced, lighting making the most of the freeze frames and tracks balanced to not overpower the unamplified performers. The airplane arrival was cleverly constructed under strobe lighting that whilst left us in no doubt something was happening it was still a fabulous reveal.
The Audience responded well to the story line and were swept along with the joy and vibrancy of the cast. Laughs and chuckles were heard throughout the charming performance space and the melodrama was not lost on some with the relevant oohs and aahs from those who appreciated the slapstick nature of the dialogue.
Clear crowd favourites were Dieckmann and Berry as the stereotypical silent movie style, gangster duo with no serious menace but beautifully choregraphed moments and typical dad jokes based around their pastry chef disguises. They had the audience in their hands from the very moment they appeared.
Adrian Carr is noted in the programme as taking on the role at short notice and it was difficult to know if some of his dialogue was a little stumbling as a result or part of his characterization which was perfection and so it didn’t matter. Carr (also the Director, the Set, Lighting, Graphic, Production and Lighting Designer) was a delight in this role. He brought the required amount of sass and pathos to the role. He was also that person you normally want to hate in an audience at shows, knows all the dance moves, the lyrics and would often place himself in the middle of the action in great delight. Narrating our way through the show he brought the modern era into the 1920’s with fun.
Ensemble members Sarah Shipton and Jaclyn Johnson & Richard Reeve, joined with Elyse Rea were a formidable force filling in vocal harmonies that at time soared through the auditorium which was no easy feat as the show is done without individual mic’s. Vocal Direction from Simone Behrendorff was sensational, and it comes as no surprise that she has directed many choirs from the sound of the small but effective ensemble and the greater group, especially as the cast were not individually amplified but made use of ceiling mics to pick up the strong vocals of each of the cast. While it didn’t allow for a sophisticated mix of vocals at times the acoustic features were appreciated and gave the old school feel of a review. Each cast member could be heard perfectly to the back wall in speech and song and tracks balanced to ensure so.
Leading Ladies Vivien Wood and Samantha O’Hare were beautiful choices for their roles, Wood providing a delightfully playful and charming Janet, at times her belt was a little overweighted and pitch suffered, however it was infrequent and her Show Off, one of the most known songs of the show was a treat. I was hoping for more of O’Hare’s beautiful blues vibes, but she brought a more classical brightness to her “As We Stumble Along”. Her strong vocals and characterization were matched well with Justin Piper who was also a perfectly cast Latin lover. His “I am Aldolpho” had the audience in stitches.
In the ambitious chorus girl role, Tamara Long was sensational, her facial gymnastics were a delight to behold, and James provided the perfect foil with his straight-faced antics. James Bird and Nicholas Joy did a lovely job of being great mates.
Direction choices were strong and worked brilliantly with this show, the involvement of the Man in the Chair into various numbers were funny and well executed. Very well-choreographed moments of stillness, complimented by the lighting saw many effective freeze-frame moments held while the Man in the Chair explained a point or simply was making commentary on his own sad life.
There were some excellently choreographed moments and Choreographer Hollie Scanlan was challenged to match the numbers with the abilities of the cast. In most cases this was done very successfully. Notably the number that was lacking a little polish was the tap number “Cold Feets” where the cast did try their best to deliver but were upstaged by Reeve as he half tapped and scraped his way into and out of the scene. But being that kind of show it all seemed very appropriate.
Switch Up Productions has proven with their first musical offering that they have the resources and the determination to become a strong contender for quality theatre in the Ipswich Community Space. It will be interesting to see where this emerging group will go and what they will do with their next musical offering of Jekyll and Hyde.
If you don’t mind a little old fashioned style vaudeville humour then this is a show to see. It is simply pure fun and frivolity and leaves you feeling happy and entertained.
‘The Drowsy Chaperone’ performs until Sunday 4th August 2024 at Fire Station 101. For more information visit their website.
